Argentine Tango Syllabus
This section describes the syllabus (topic list) for Argentine Tango classes.
Generally speaking, all Learning Tango classes will refer to areas within this syllabus.
Argentine Tango Syllabus: Section A: The Embrace
This section describes the key LearningTango principles taught for the Embrace.
A1: Embrace variations
Embraces typically vary, depending on factors including:
- Closeness (body-to-body contact or further away)
- Angle (the amount of "V")
- Lean (or weight sharing)
- Offset (how much they are to the right of each other's center)
A2: Some common types of embrace
This section describes a few common embraces in Tango, and how each is best used.
Variation 1: Close parallel embrace: "Airport hug"
- Contact along the upper body, solar plexus to solar plexus, symmetrical
- Well suited for walking and small movements, typically with traditional music
- Axes can be separate or shared - so "lean" can vary
- Not ideal for sweeping movements, crosses, or flashy steps
Variation 2: Open: "Looser hold"
- Contact along the length of the "inside" arm (man's right arm, lady's left arm) - no torso contact.
- "Outside arm" (man's left arm, lady's right arm) - not too much pressure, not used as the main lead
- Both dancers must be on their own axes
- Suitable for sweeping movements or flashy steps
- Not suitable for small movements or walking steps
Variation 3: V Embrace: "Angled"
- Closer contact on the man's right (lady's left) side, more open on the other side
- Provides space and support for doing some figures including volcadas and crosses
- Requires continuous dissociation from the lady (between chest and hips)
- Well suited for rotation-based movements
Variation 4: Practice
- Hands on each others' shoulders
- Not generally used in social dancing.
- Useful to work on concepts such as dissociation.
- As this is a symmetrical hold, this helps practice movements in both directions
Note: there are many other variations (and variations of variations) possible.
A3: Deciding which embrace to use
There are different philosophies for how to determine which embrace will be used. But for the purposes of this syllabus, we will assume that the embrace type is offered by the leader, and is then accepted / rejected by the follower.
- It's a negotiation (or collaboration), but ultimately, the follower determines how close she wants to be to the leader.
- Neither leader nor follower should attempt to force an embrace style on the other partner
- It's quite possible to alter the embrace during the course of the tanda, or during the dance itself.
- If the two partners cannot agree on the embrace style to adopt, it's probably best if they don't dance with each other.
A4: Getting into the embrace
An example sequence of events for setting a close embrace might be:
- The leader connects with the partner's chest first
- The leader places his right arm lightly around her back, while raising his left arm
- The follower raises her right arm, and the leader's left hand joins with it
- The follower reaches around the leader with her left hand to set the embrace (depending on the height difference, the follower's left hand can go around the leader's neck shoulders, or back)
Key principles:
- The order of this process is not set in stone.
- This process should not be rushed - it should take, at least, 5-10 seconds to complete.
- It's a good idea to use the "intro" phrase of a track for this purpose.
- The arms should end up in the place that makes the connection work, the embrace shouldn't end up where the arm position happens to force it.
Argentine Tango Syllabus: Section B: How to Stand
(Note In Argentine Tango, the topics of Posture, Axis, Groundedness, and Balance are interdependent; I've grouped them all under the heading of "how to stand").
B1: Balance
Our balance relies on a combination of our inner ear mechanism, feedback from our body, and response from muscles.
There is also pivoting on the ball of the foot and this is something that both leaders and followers have to practice in order to achieve balance through the movement to achieve a degree of control; so that we are balanced through whatever amount of pivot we do.
B2: Posture
- Keep axis vertical and shoulders horizontal
- Use the core muscles to move around your vertical axis (not a rotation of shoulders!)
- Keep shoulders relaxed & "down", and head & chest "up"
- Maintain your posture, especially when changing direction and pivotting
- Think "lifting up" everything above the waist, and "pushing down" everything below the waist.
B3: Groundedness ("stability")
Definition: Being grounded means focussing your energy downwards into the floor - being stable. So being less grounded means being less stable.
- Good stability is a key technique area for good dancing.
- Being grounded is helpful at all times - and especially when doing movements which can involve loss of balance - pivots, leans, and so on.
- The leader "grounds" to indicate weight change to the follower and the follower "grounds" to let the leader know where her weight-bearing foot is.
- To become grounded, lower your hips slightly closer to the floor, and at the same time push into the floor with your weight-bearing foot. Walk as though the floor was six inches lower.
B4: Axis
Definition: "Axis" is a notional vertical line through your centre of gravity; lying somewhere between your navel and your spine, running up through your neck and head, around which the body can twist eg chest relative to hips. Below the navel, the axis will continue and arrive, for example into the foot of the supporting leg.
- Each partner should always be balanced on his/her own axis. In other words, don't fall over :)
- Your weight should be towards the front of the foot of the supporting leg.
- The follower's non weight bearing leg ("free leg") is relaxed - free from any muscle tension so that it can respond naturally to changes in direction from the lead
- The leader should ensure the follower has arrived on her balance point before executing a change in direction
B5: Isolation, free leg and collection
- Isolation ("dissociation"): The chest (and above) being independent from the hips and below, (or the chest and hips facing a different direction from each other). For forwards and back steps, the hips point in the direction of movement. For side steps, the hips are perpendicular to the direction of movement.
- Free leg movement: The non-weight-bearing leg ("free leg") should always be able to move freely. This is especially relevant for followers, who need to move their free legs without transferring weight, as part of each step.
- Collection: By default, bring the feet or ankles back (or close) to each other between steps (but not necessarily pausing there)
Argentine Tango Syllabus: Section C: Lead and Follow
C1: Connection
- The lead is an indication of the leader's intention, or a gentle guide (done as an invitation)
- The Follower receives the lead (intention) and does the movement with (or guided by) the leader.
- Project your energy towards each other at all times, make your presence felt
- Use the core muscles to twist from the waist in order to keep the... upper torsos opposite one another
C2: The Leader's Role
The leader should:
- Give clear, smooth, & gentle leads, (with a minimum of force), that do not disrupt your partner's balance
- Lead from the centre (the chest, shoulders and arms should move in unison, not independently)
- Communicate on which beat(s) the step(s) should be done
- Be aware which leg is the follower's non-weight bearing leg and is therefore free for movement
- Maintaining the comfort and safety of the follower
- Fix / Recover from any mistakes (whether they are yours or the followers)
- Embellish as you see fit (as long as they fit with the steps that you lead)
C3: The Follower's Role
The follower should:
- Do the steps that are led, in the rhythm that is led
- Aim to stay in front of the leader's chest
- Take consistent / predictable steps
- Keep track of which foot your weight is on (you don't worry about leader's feet or weight)
- Only change weight when led to do so, (it's not always when he steps).
- Maintain your balance and stay on your axis (unless led off it)
- Embellish (or adorn) as you see fit (as long as they fit with the steps that are led)
Argentine Tango Syllabus: Section D: Core movements
(Note In Argentine Tango, the topics of Posture, Axis, Groundedness, and Balance are interdependent; I've grouped them all under the heading of "how to stand").
D1: Forward / back step
The sequence of events for leading and taking a step is: Lead -> Follow -> Follow.
A more detailed explanation:
- The leader signals his intention by moving his chest (centre) forwards
- The follower extends/moves her free foot back
- The leader starts his step, into the space that the follower has made available
- The follower transfer her weight onto the foot
An even more detailed description:
- For the leader, intention to move forward can be expressed by allowing the upper body to move but delaying the leg movement by touching the thighs together. The foot is then moved forward so that the lower legs are in an upside down V shape
- The leader then pushes off from the back foot & straightens the back leg, transferring his weight & axis to the front foot (and the followers weight onto her placed back foot)
- The follower responds to the leader's intention & projects her non weight bearing leg backwards starting the movement form the core - "squeezing" thighs en route and straightening the leg without transferring any weight onto it.
- The leader transfers the weight of the follower onto the foot of the projected leg.
- Although the follower is moving backwards, her energy is projected forwards towards the leader. Her backward movement is from the leader's "stronger" energy and not from a self-generated step.
D2: Weight Change
Change weight from one leg to the other.
- Feet (Legs) should be in default "collect" position - i.e. close together
- The lead should not involve much (or any) real lateral movement - not a push to the side
- The motion is more of a "lift then settle" movement
- Followers, try to make it clear to your partner that you have changed your weight
- Can be done quickly, so suits double-time movements and milonga movements nicely
D3: Sidestep
This is a step to the side, and uses the same Lead-follow-follow technique as the forward / back step.
The order of movement is:
- The leader signals his intention by moving his chest (centre) to the side; usually also lowering a little by flexing the knees
- The follower extends/moves her free foot to the side in the same direction as indicated by the leader
- The leader starts his step, in the same direction that the follower has just moved her foot
- Both transfer their weight
D4: Rockstep
Small forwards-and-back rock-step.
- Useful to navigate around corners, to pause in the dance, and to decorate / vary the steps.
- Only transfer a portion of the weight forward and back, not all of it. The less weight transferred, the easier it is to speed up - if all weight is transferred, it becomes a (small) step, not a rock-step
- Can be done quickly, as it's a small movement. So works nicely for double-time and milonga movements.
D5: Pivots
Pivots are typically performed by the follower, either clockwise or counter-clockwise, based on the lead.
- Pivots are created by the tension or torque in the body resulting from twisting using the core muscles: by twisting we mean rotating the chest/ribcage independently of any hip movement.
- Direct your energy towards your partner and keep chests as "opposite" as is possible before leading or following the pivotal movement
- Keep balanced, stay on axis and ensure that the pivoting foot is grounded as though putting out a cigarette butt.
Argentine Tango Syllabus: Section E: Common Patterns
E1: The Cross
Referring to when a dancer (most often the follower) crosses one foot in front or behind the other.
The most common use of this is when the follower crosses steps back and crosses her left leg over her right. The sequence for this use involves:
- Leader leads the follower to extend her leg straight back as the first part of a back step
- Follower transfers weight to the back foot
- Leader leads the follower's free leg to transfer (diagonally) in front of her back leg, into a crossed position. (Note that followers need to keep their hips facing the leader at this point)
- The follower then transfers her weight to the front leg, ready to move back with the back leg
E2: Forward Ocho
Commonly done by the follower, conceptually this involves a pivot plus a forward step (or, a forward step then a pivot)
- Done when the follower is perpendicular to the leader
- The step (then pivot) is done on the leg closest to the leader
- The follower must keep her upper body facing the leader as far as possible
- Can be led in with no leader foot movement (i.e. leader leads with chest only), or in crossed-system with the leader taking sidesteps alongside the follower's forward steps.
E3: Back Ocho
Concept: Pivot + backstep (usually led in crossed-system)
Commonly done by the follower, conceptually this involves a pivot plus a back step (or, a back step then a pivot):
- Done when the follower is perpendicular to the leader
- The step (then pivot) is done on the leg furthest from the leader
- The follower must keep her upper body facing the leader as far as possible
- Is best led in crossed-system with the leader taking sidesteps alongside the follower's forward steps.
- Does not work well with no leader foot movement (i.e. leader leads with chest only), because of the follower's axis being further away
- Common variation - travelling back ochos where the leader's steps are diagonally forward in the line of dance.
E4: Giros (molinetes)
Leader pivots, Follower steps around the leader, in a grapevine step/pattern around the leader: Back -> Side -> Forward & Pivot -> Side & Pivot -> repeat
- This pattern can start (or stop) on any step (Forward, side, or back)
- The follower must aim to stay directly in front of the leader's chest (or catch up as soon as possible), but must not overtake the chest movement
- Collect (and pivot as needed) between each step
- The Back - Side - Front portion can often be danced to a quick - quick - slow rhythm, as no pivots are required.
E5: Track variations
- 2-track: Walking in parallel in front of the partner.
- 3-track (Crossed system): Man slightly offset from the woman, and "Middle" legs move in synchronisation - typically the man's right leg moves in synch with the woman's left leg, but can be done on either side.
- 4-track: Walking in parallel to one side of the partner (typically with the follower on the leader's right side, but can be done on either side).
Diagram illustration:
Worcester Tango
Argentine Tango Syllabus: Section F: Dancing
("dancing" topics refer to general information regarding social dancing)
F1: Line of Dance
- Always done counter-clockwise around the room.
- There is usually a "lane" on the outside of the room, and there may also be an "inside" lane, depending on the venue and number of dancers.
F2: Basic Tempo Changes
Basic changes of tempo include:
- Single-time: stepping on the main (strong) beat or pulse in the song
- Double-time: stepping on the strong and weak beat
- Pause - pausing, when there's a pause in the music.
Other variations are possible of course - half-time, and so on.
- By default, forward / back steps are done in single-time.
- Changes of weight and rocksteps are often (usually) done in double time.
Timing changes of steps are the basis of dancing with musicality, as they allow you to interpret the differences in the music using your dancing.
F3: Improvisation
Argentine Tango is an improvised dance. There is no "Basic Step" like in ballroom dancing - all Basic Steps or Patterns are simply drills, or teaching exercises.
- Leaders: simple, good steps, done to the music, are dancing.
- Followers: Relax. Wait for the lead. Don't anticipate the next step.
- Improvisation for leaders:This involves changing your movements to fit the music, the space, and your connection with your partner.
- Improvisation for followers:This involves stylistic movements and changes to your steps (including embellishments as appropriate)
F4: Basic Etiquette
Definition: Tanda - a group of 3 or 4 songs (occasionally 5) of the same style or artist
Definition: Cortina - a brief clip of non-Tango music, used to separate the Tandas
- The "3 dance rule" - Normally, you would dance the entire Tanda (three dances) with the same person
- "Thank you" indicates that we are done (not a good thing in the middle of a Tanda)
- The mirada - cabeceo: Eye contact used to ask for a dance, and the nod to accept it (or look away to refuse).
- During a song, don't walk straight across the dancefloor, or stand and talk on the dancefloor for an extended period.
- If there's a bump, both couples apologise and check no-one's hurt.
- Try and be fresh for your partner - showers, deodourant, breath mints etc. - but don't bathe in aftershave/perfume.
Argentine Tango Syllabus: Section G: Milonga and Vals
G1: Milonga
- Milonga music: typically a Faster rhythm, (DA-DUM DUM-DUM, Slow -QuickSlowSlow)
- More of a fun, bouncy, or lively feel
- Fewer / no pauses - there is an expectation that you will usually stepping on every "slow" beat (and sometimes on the fast beats)
- Traspies (quick double-time steps) are often used
- Smaller steps
G2: Vals
- The "Tango Waltz"
- Vals music: 123, 123, 123... based music
- Three quick beats per one slow beat
- If you only do slow steps (stepping on the "1" beat), it is very similar to Tango
- Common to double-time steps - for example, stepping on the "1" and the "3" - when the leader wants.
- Steps are potentially larger than tango, involve more turning, and have a more 'pendulum' flowing feel.
Argentine Tango Syllabus: Section H: Tips for leaders and followers
H1: Good Floorcraft for leaders:
- Keep moving forward as space becomes available (Don't cause backups).
- Do not cause collisions
- Avoid overtaking, unless it is not crowded, the couple in front isn't moving for an extended period, and you are certain it is safe to do so
- Avoid stepping backwards, unless you are certain it is safe to do so
- Stay in lanes when crowded
- Protect your follower (from collisions, getting kicked, others, etc.)
H2: Don'ts for Leaders
Leaders, do not:
- Teach on the dancefloor
- Crash around the floor like the proverbial bull in the china shop
- Give people hard looks over minor things
- Harass a follower into dancing with you
- Drink fizzy drinks and then dance with women with long loose hair (trust me)
H3: Good Floorcraft for followers
- Keep your feet low, when the milonga is crowded, or others are nearby
- Be aware of the leaders blind spots: behind himself & to his right
H4: Don't For Followers
Followers, do not:
- Press down so hard with your left arm you crush his right arm against his body
- Auto-ocho
- Do ganchos unless you're both certain it's what is being led and you know the proper technique (Hint: Kicking your leg back isn't the proper technique!)
- Take your foot up unless you're certain it's safe to do so
- Harass a leader into dancing with you
- Doubt yourself while dancing. You should take your steps with confidence - if you pause or ask "Did you mean to do that?", it messes everything up